Friday, June 27, 2014

How is Twitter useful to a game designer

 The 140 character limit of tweets makes Twitter look like a haven for the ADHD and "sound byte" mesmerized among us.  Despite that limitation, it can be useful for certain purposes to a game designer.

This is aimed at inexperienced designers, and those who have not used Twitter.


I am including the slide text here so that you have an idea of what the screencast is about.  Please don't comment unless you listen to the screencast; this outline is not the text just as a book's table of contents is not the book.




How is Twitter useful to a Game Designer?
Dr. Lewis Pulsipher
Pulsiphergames.com
Courses.PulsipherGames.Com


140 characters per tweet . . .
The “word bite” nature of Twitter doesn’t lend itself to critical thinking
Which is at the heart of game design
But there are lots of really smart people on Twitter
And some who aren’t, of course
Twitter can help you find useful information
Sometimes it helps you understand other points of view than your own
And it can be good publicity for you and your games
You can do this in five minutes a day; or you can get sucked into a much deeper time sink

Publicity
Especially for independent designers and small publishers
(This is why I joined Twitter, to publicize various projects)
New blog posts
New games or books
Kickstarter
It’s one more antidote to the problem of “discoverability” (people can’t play your game if they don’t know it exists)
Retweets and favorites of your posts reach beyond  your followers
Get started now, because building up followers takes time


References to articles
Follow the right people and you can get references to useful articles on the Web
In a way it’s your personal reference service
Lots of heads (and eyes) are better than just yours
And you should provide the same to other people
(I keep track of useful articles, in part, by tweeting them to others)

Answers to questions
Got a design-related question?  Shoot it out (e.g. to #gamedesign) and you might get some useful answers
Questions about sources for something in particular – information, software, whatever – can also get useful answers


Source of quotes
I collect quotes that I might use in articles, classes, and books
Some people on Twitter are quite quotable, on occasion


Limited Discussions
Yes, you can conduct a (group) discussion through Twitter, it’s just strongly limited
Use hashtags (#thisisahashtag) to keep together
And it’s not private
Anyone can join in, if they notice it

Compare with Facebook
There are subject pages for books, games, shops, groups, etc.
Limited number can see your comments
Not limited to 140 characters
Better for discussions, less for publicity
Discussions tend to avoid the “anonymity = nastiness syndrome” because people are rarely anonymous on Facebook


Compare with Gamasutra/ GameCareerGuide
On Gamasutra you read news articles and blog posts, and comment if you wish
Much of the interest can come from the comments
I like it as a place to post occasional blogs (when they can be applied to video games)
GCG is fairly dormant these days
Not really for person-to-person communication
Video games only, of course


Compare with BGG etc
Boardgamegeek/Videogamegeek/RPGgeek can be really caustic or shallow, as is often true of forum-based communities
The Board Game Design forum on BGG is mostly wannabes and “look what I’ve done”; rarely useful beyond the ‘pinned’ discussions
Game Geeklists can be useful
I post my blog there (its home is on Blogger) because sometimes I get insightful (lengthy) comments
Board Game Designers Forum is also mostly wannabes and “look at me’s”, but occasionally insightful
All of these are better, for detailed discussions, than Twitter


Whatever discussion forums you favor, Twitter can have a place in your continuing education and your promotions




What I should have included in the video, but did not, is that Twitter can also provide some feedback about your blogs/videos, in terms of how many people favorite or retweet your tweet pointing to the blog or video.

I've just run across this article that may interest some readers: http://www.zdnet.com/how-it-professionals-can-get-the-most-out-of-twitter-7000030760/

Thursday, June 19, 2014

Triptych III

Three separate topics: "Enslaved by technology", Game Design: Understanding Why, and:

Must tabletop wargames only be just as the grognards want them to be?

I know tabletop wargamers, "grognards", who think you must have a board with hexes, and cardboard counters with numbers on them, or you don't have a wargame. Britannia-like games certainly don't meet these criteria, nor Diplomacy, nor Risk, nor many other games. 

I think more fundamentally, many wargamers are people who don't like games that can involve negotiations, that is, games where talking with other players  can give you an advantage (or disadvantage); or perhaps more specifically, they don't like games where you're clearly at a disadvantage if you don't talk to other players.  Many wargamers are accustomed to playing solo, and I think some (who in many cases have gone into computer wargames) really don't want to deal with other people.

These wargamers tend to play battle games, games without production economies, whereas the wargames for more than two players not only feature talking, but frequently have production economies.  (Axis & Allies is one of the exceptions, a two player wargame with production economies.)  The object in a battle game is usually to destroy the enemy force; the object in a war game (notice the space between war and game) is to take economic capability from the enemy, and improve your own, because the best economy will usually win in the end.  Which is quite often true in Britannia, for example, and always true in computer Civilization, Diplomacy, and (except for the kludge of the cards) Risk.   It is *not* true in History of the World, which despite the title is a battle game, not a war game, with a variable order of battle and no production economy.

If there's a future for wargaming, other than an obscure niche in video games, it's in simpler games where there aren't numbers on the pieces, and where there are often more than two players.  That will lose some of the grognards, but it should gain even more of the players who are not enamored of numbered counters and hexes.

***
Game Design: Understanding Why

One of the keys to being a good game designer, and to making yourself appear to a potential employer to be a good game designer, is understanding why you make changes that ultimately work out, rather than just guessing at changes until finally one of your changes works.  If you're trying to get hired by a video game studio, you need to be able to articulate exactly why changes worked or didn't, and why you tried particular changes, so that they'll understand that you understand game design, you're not just using trial and error (guess and check).  Trial and error works in the long run in playing most video games, but it's terribly inefficient in game production.

If you're a programmer, you may have seen lots of student programmers behave in this undesirable way: guessing at what's wrong, then guessing at a solution, instead of trying to figure out what's wrong and then find a way to fix it.

So in my "Game Design" book I try to explain WHY?  It's my preference for education (understanding) over training (memorization).

***
"Enslaved by technology"

Some video gamers are so dazzled by tech (especially the techno-fetishists) that they cannot see the forest (the game as a whole) for the trees (the technology).  They're Enthralled with "realistic water rippling" and "the play of moonlight in the leaves during a breeze." I think this appeals especially to the "Attention Deficit . . . oooooh shiny" generation.

It goes back to traditional dominance of video games by programmers, too.  You had to be a programmer as well as a designer in the days when one person made a video game.  And video gamer programmers still look down on designers, feeling they're just people who get ideas, and anyone can do that.  (Which tells you how little they understand design.)  There would be no video games without programmers, they say - mostly true even now - so they are impressed with themselves, but are not impressed by design.

Hardly surprising, then that there's techno-fetishism in the ranks of the game makers as well as the game players.

Ron Gilbert (The Secret of Monkey Island etc.): 

    "I think many people making games today are very tech focused.  They're very excited about the technology and how they're going to model realism - "We have a million blades of grass and they are all swaying to the wind correctly!"  That's interesting at some level, but I think they might be missing this whole other piece, which is creating interesting characters and creating interesting worlds and stories.  It's the technical versus the creative sides of this thing."  GameInformer issue 199 November 2009 p. 53


Courses.PulsipherGames.Com

At WBC (Lancaster PA, early August), I will be talking about Designing Multi-player Games (and a lot of other design related topics) on Friday at 5  in Hopewell.  This is listed as 1 hour, but I don't see anything scheduled thereafter, so as usual it will be up to 2 hours or whenever people no longer want to participate, whichever comes first.

My seminars at GenCon (August, Indianapolis):
SEM1453968  Introduction to Design of (Strategic) Wargames (https://www.gencon.com/events/53968)   Thursday  3:00 PM  1 hr
SEM1453969  How to Write Clear Rules (https://www.gencon.com/events/53969)   Friday 11:00 AM  1 hr 
SEM1453970  Multi-Sided Conflict Game Design (https://www.gencon.com/events/53970)   Saturday 11:00 AM  1 hr 
SEM1453476  Of Course You Can Design a Game, But Can You Design a Good One? (https://www.gencon.com/events/53476)   Sunday  9:00 AM

Thursday, June 12, 2014

Game Design: Interesting Decisions versus Wish Fulfillment



Slides from this screencast:

Interesting Decisions
versus
Wish Fulfillment
Dr. Lewis Pulsipher
Pulsiphergames.com
Courses.PulsipherGames.Com

Another way to look at game design
Insofar as game design is much about thinking…
Dividing/categorizing what game design is about can be fruitful
So we can look at games as:
Those with human opposition vs those without
All math, about people, or about stories
Linear vs “open world”
Mind control vs players make own story
Games vs puzzles
The system and the psychological
Talent vs technique

This time it’s: games as a series of choices
 versus games as wish fulfillment

Sid Meier’s classic definition of a game as “a series of interesting choices” versus
Games as wish-fulfillment, as “an experience” (role-play)
AAA video games have enabled the second method
Traditional board and card games lack ways to make something that “feels real” for the player

Wish-fulfillment can still have choice
But in many cases, to implement wish-fulfillment the designer/writer eliminates the larger choices in order to guide a story to a conclusion
As in, say, Mass Effect 3?
Role-playing games such as Dungeons & Dragons provide the bridge between the two
You can play it either way
Some RP game systems encourage one or the other

Is one way “better?”
No
“Interesting choices” is the traditional game
“Experiences” is the “new” game
(And puzzles are something else again)
I’ll confess I’m mostly in the choices camp
Yet in D&D I tended to play the game as though it was me in there, not as an actor, so in that respect it was an “experience”

What kind of games do YOU want to make?

Friday, June 06, 2014

Can we define "Game mechanic?" Not really.

Gary at iceboxdoor.blogspot.com/2014/06/game-mechanics-search-for-definition.html is looking for a hard-and-fast, absolutely precise definition of "game mechanic".

In his discussion he mentioned my entry in the glossary of my book "Game Design: How to Create Video and Tabletop Games, Start to Finish", which was too fuzzy for him.  I'm going to quote the glassary entry:

    Mechanism or mechanic-- game rules (or game programming for video games) generally describe methods by which the game moves forward, and these methods are the mechanics of the game.  For example, rolling two dice and moving your token the sum of the roll around the board is a game mechanic (Monopoly).  Moving one piece on an 8 x 8 square board according to the movement capability of the piece is a mechanic in chess.  In video games mechanics result in challenges that players take actions (such as moving a joystick or pressing a button) to overcome.

Gary says  [The ellipses are his, by the way, not an indication that I left something out.]:
    '. . . it's a fine definition. As you might guess... I'm still not satisfied. Pulsipher's definition is much like Wikipedia's. "game rules..." "methods..." and "for example..." Why am I not satisfied? Well, I guess these only seem to hit at the surface. Again referencing rules and listing examples.'

I don't think of glossary entries as definitions so much as descriptions.  I try to avoid definitions, because given the fundamental ambiguity of language, especially of English because it incorporates so many additions from other languages, ANY definition of any complexity is likely to be fuzzy to some.

The reason I prefer descriptions to definitions is that, at some low level, all you can do in a definition is substitute another word (that then is subject to the same problems) - for example "method" for "mechanic" (which is what I did). A dictionary typically does this a lot, but there's no way around it, the hope is that the substitute word will satisfy.

Carl Klutzke, in a comment to the discussion, cleverly noted:
"Recursion: noun. See recursion."

Curious about the actual definition of recursion, I actually found one that used the word "recursive" in the definition; using a form of the word to define the word is a real no-no in my view.

It reminded me of 50 years ago, when my family had a multi-volume encyclopedia in which Hurricane just said "See Tornado", and Tornado just said "See Hurricane".  Or at least, that's how I remember it.  :-)


Some concepts in any field, such as game design, may also not be susceptible to definition.  This puts me in mind of the premises that are fundamental to mathematical proofs (such as, the shortest distance between two points is a line, and parallel lines never meet) that cannot be proved though they can be defined.  I suspect "game mechanic" is something that cannot be perfectly defined but can be a useful notion.

In the end, if (most) everyone agrees that something is a mechanic, it is.  Perhaps that's why "definitions" of mechanic use examples (as I did in my description).  I confess, I was more interested in helping those who didn't know what a game mechanic was, than in trying to actually define the term.

It's like trying to define "game".  Eric Zimmerman and Katie Salen in their book "Rules of Play" spent 80 pages trying to define "game", and then found that puzzles and RPGs had not been accounted for.  The effort of defining game can lead to new insights, but no definition is going to be ironclad and satisfy most people.

I recall the big hoorah in some places (such as Fortress:AT) when I discussed in this blog what the word "elegant" means in games, without offering an explicit definition (IIRC).  http://pulsiphergamedesign.blogspot.com/2012/01/what-do-we-mean-by-elegance-in-games.html .  The word meant very different things to different people.

It's actually more important to differentiate "mechanic", "rule", and "description" than to rigorously define any one of them.  See http://pulsiphergamedesign.blogspot.com/2012/01/game-descriptions-rules-and-mechanics.html

Almost all definitions are fuzzy.  In this wise, my glossary entry is sufficient for most, I think, though it leaves room for "edge cases".

***
I'm giving four free seminars at GenCon (all 1 hour):
SEM1453968  Introduction to Design of (Strategic) Wargames Thursday  3:00 PM 
SEM1453969  How to Write Clear Rules  Friday 11:00 AM
SEM1453970  Multi-Sided Conflict Game Design  Saturday 11:00 AM
SEM1453476  Of Course You Can Design a Game, But Can You Design a Good One? Sunday  9:00 AM




Tuesday, June 03, 2014

Video: Are you a game designer, or a fiction writer?

 Especially in video games, many "designers" conceive of themselves as fiction writers rather than game designers.


 
Slides from Are you a game designer, or a fiction writer?
Dr. Lewis Pulsipher
Pulsiphergames.com
Courses.PulsipherGames.Com

Question arises from the ECGC
East Coast Game Conference 2014 featured lots of discussion of story in games
Ken Rolston, keynote, called himself a writer
Mary deMarle talked about integrating story and game
Heather Albano discussed what amounted to same storyline but 3 or 4 quite different results from player’s point of view

Player’s viewpoint: Experience a story written by the game developers, or “write your own” story
Some writers clearly think they should decide how a game works, not the game designers
Which is a manifestation of the notion that all games (or at least, video games) are story
(My view is that there are three kinds of players/games:
Games are all math
Games are about people
Games are stories)

Why do people play?
Do people play a game for the story, or the gameplay?
I’m firmly in the gameplay camp
And the “games are about people camp,” with stories included because stories are about people
Stories don’t last.  Once you know the story, you’ll rarely want to experience it again
The smaller the game, the less room there is for story – unless you get to a few art games that are much more story than game (Journey,  Stanley Parable, etc.)

The Essential Difference
Game designer invites emergence, wants players to create the “narrative”
Game writer sets up a story (perhaps with variations) for players to follow
They’re trying to impose a passive experience on an interactive challenge – quite a challenge in itself
Not quite the same as a desire to “control the players”.  Puzzle designers control players.  Fiction writers often control players but many wish they didn’t have to.

Game designers like emergent behavior, up to a point
I especially like emergent objectives, where the player(s) find their own objectives, other than winning/beating the game, to pursue
They don’t like something that breaks the game
Fiction writers don’t like emergent behavior, their objective is to control the story
Though many are trying to find ways to provide 3 or 4 stories within one game
And sometimes fail, as in Mass Effect 3

Game formats
AAA video games are often about an “experience”, more or less a story
Tabletop games are usually “rules-emergent”, the game gives the players opportunities to write their own narrative or even story
That’s also true for many casual video games
Tabletop RPGs are the bridge between the two, and can be played either way

All kinds of games are moving more toward stories.  GenCon is a story convention as much as game convention.  The question is, what do you want to do, design games, or tell stories?

Friday, May 30, 2014

Video: Level/Adventure Pacing

Video: Level/Adventure Pacing (from my "Game Design" YouTube channel, ultimately from my course "How to Design Levels/Adventures for Video and Tabletop Games"



Slide text:

Tension and Relaxation
If a level/adventure is very much “the same”, whether always tense or always relaxed, it’s missing something
Constant tension becomes tedious
Constant relaxation is only for those who play games purely to relax
So for most game levels/adventures, alternation of tension and relaxation is ideal

Writers of fiction of all kinds (including movies) recognize this
So in movies, you have periods of tension followed by periods of relaxation, though the trend overall is upward to the final climax
(This is also called “peaks and valleys”, from the look of it on the chart)
As illustrated on the next page, from Star Wars (original 1977 movie)

Diagram from “Beyond Pacing: Games Aren't Hollywood”  by Jacek Wesolowski http://www.gamasutra.com/view/feature/4032/beyond_pacing_games_arent_.php


Each level has its own overall rising tension as it goes from peak to valley to peak
This is also true of the game (or campaign in RPGs) as a whole
Also watch Extra credits: Pacing  https://www.youtube.com/watch?v=5LScL4CWe5E
And I’d read the article the chart came from http://www.gamasutra.com/view/feature/4032/beyond_pacing_games_arent_.php

Wednesday, May 07, 2014

Limited "Content" in AAA (and other) Video Games


Big ("AAA" ) video games continue to become more expensive yet shorter, because 3D/complex "content" costs so much.  This is a video/screencast discussion of existing, successful alternative ways to inexpensively provide content.



In case the embedding doesn't work, here is the URL:
http://youtu.be/K2vJ5oyfNgw

Here is the text of the slides (which are created with the intention to be intelligible on their own):

Limited “Content” in AAA (and other) Video Games
Dr. Lewis Pulsipher
Pulsiphergames.com
Courses.PulsipherGames.Com


Content = Expense in Video Games
In most video games, as in puzzles, the creator(s) of the game must provide all of the “content” – everything the player(s) can possibly do
When computers were very limited, this was not a problem
One person could provide all the content: programming, “graphics” such as they were, “sound” such as it was
But in the 3D computer age content is much more expensive
Typically more artists than non-artists work on a AAA game


This is why games are getting shorter
Even as AAA games increase in price, they get shorter
Because 3D content (art and programming) simply costs too much
AND now many more players like “open world” games, with lots of possibilities, as opposed to linear games, with strictly limited possibilities
Some content isn’t used
So more content overall is required per minute of actual play
Everything is getting more complicated, with online play


Human opposition
In games with human opposition, the opponent(s) provide much of the “content”
Humans are expert, and unpredictable, and fascinating, in ways computers cannot be
Yet they also provide opportunities for “yomi”, reading the opponent’s intentions, that computers cannot provide (being too predictable)
This is why a person can play a tabletop game hundreds of times yet still see and learn new things


RPGs
Much of video gaming derives from Dungeons & Dragons and other tabletop

RPGs
(Think of “dungeon” levels, experience points and levels, a single avatar per player, distinct episodic adventures, character advancement, loot that increases player capability, and so on)
In these RPGs, there’s human-controlled opposition (by the referee/”DM”), but it’s a co-operative game
Co-op is becoming more and more popular in both tabletop and video games


One solution to the VG content problem
Is, video games use human opposition to provide “content”
EVE Online has been doing this for over a decade
Every player is an independent potential ally or enemy
Players form corporations and alliances, and those larger entities also fight, somewhat like Earth-bound nations do
When video game players play as a team against another team, the human element provides much of the interest, the “content”
Think Team Fortress, Call of Duty, etc.

PvP (Player vs Player)
MOBAs such as League of Legends and DotA2 (DotA was the original, a Warcraft III mod)
The only way to play is in teams of five
World of Tanks isn’t a MOBA, but focuses on team versus team
The way to play is mostly-random teams of 15 vs 15
Clan versus Clan is more or less an RTS that pits players against players
These games are some of the most profitable today, even though “free to play”


A variation – non-dev humans create content
Some games let human players generate new content that is executed by the computer
Such as new levels, scenarios, puzzles
Little Big Planet (PS3) notable early example
New scenarios for Civilization
New levels for Unreal Tournament (Deluxe version provided level editor and many hours of tutorials)
Mods in general (though these are much less numerous because much harder to create)


Procedural generation of content
The computer generates new areas of play
In old-time Dungeons & Dragons you could use the tables in the DM guide to generate dungeons, monsters, magic items – procedural generation
“Roguelikes” have rebounded in popularity in part because they procedurally generate the content
Though that makes it harder on the player: it can get really hard to succeed


MMOs
Typical MMOs: content is created by the developers
And that’s why MMOs are so vastly expensive to create
Even then, some players shoot through all the content very rapidly, then quit – that’s killed the subscription basis
So now most MMOs are “free to play” – but EVE is not, because it offers more


MMOs
Some MMOs are now going to use procedurally generated content
The problem is, in a typical F2P environment players expect to be continually rewarded.  Procedurally-generated content can often be quite hard-to-play content
In MMOs “a player challenged is a player lost” - will players quit?

Conclusion
To reduce the spiraling costs of producing big video games:
Provide human opposition
Via EVE model
Via PvP
Via team play “multiplayer,” MOBA
Procedurally generate content
Let humans generate new content

Thursday, April 17, 2014

April 2014 Miscellany


Thoughts about some game-related topics that are not long enough for separate blog posts.

**
A "new" Britannia-like game:
Wallace Nicoll has prepared a PDF edition of Roger Heyworth's game Conquest Europa.  Roger was the uncredited editor of Britannia for its original publication by H. P. Gibsons in Britain in 1986.  He passed away in 2000, unfortunately.  Wallace was involved in the testing.  http://boardgamegeek.com/filepage/99400/conquest-europa-2014

The game covers all of Europe and North Africa, from the fall of the Roman Empire to Tamerlane and beyond.  With some 500 pieces, 35 nations, and 106 areas, it lasts 10-12 hours with experienced players.

When I began to think about doing a new edition of Britannia, around 2004, a 1980 all-of-Europe game I had done while developing Britannia.  Though not as big as Conquest Europa, it took 12 hours to play the first time, so I set it aside and then completely forgot about it.

One of the first new games I started when I came back into the hobby was an all-Europe game, which was playtested at WBC in 2008.  It turned out to be a natural five player rather than four player game.  Someday it may see print, perhaps in Against-the-Odds magazine or annual.  In the meantime I've devised another all-Europe game that lasts about two hours, and has been played in 1:40.

These games both end with the Mongol invasion, after starting with the fall of the West Roman Empire.

**
Before playtesting (of "D&D Next") started I wrote:  I don't see how WotC can accommodate  fans of 1e/2e and 3e and 4e, because gameplay depth was important to many 1e players, self-expression and one-man-armies was important for 3e (fantasy Squad Leader), 4e is all tactical battles, and variety has become the main interest in 3e and 4e.

And now that the public playtesting is done, I'll repeat what I said above.  I didn't even see an effort to accommodate such different play styles.  The game seemed to be an attempt to upgrade 3e with some 1e/2e, and very little 4e.

**
Am I the only person who is really distrustful of these pre-"reviews" I see on Kickstarter games?  This is such an obvious marketing tactic, and the reviews I've seen are so fulsomely (overflowingly?) positive, all of my skepticism receptors light up.

**
Convergence:  The broadest difference between traditional video games and tabletop games is that the former are used to pass the time (or kill time) while the latter are used to spend time with friends - socializing if you will.

"New" video games such co-ops, some Wii games, and some MMOs are going toward the "spend time with friends" side.

**
Why I fundamentally "never get" most Euro-style games (and I'm using the traditional definition, not the "heavy strategy non-wargame" definition now in vogue)

1) I prefer games of conflict and maneuver.  Euro games are usually designed to reduce and deemphasize conflict, and rarely use maneuver and geospatial location.

2) I try to design a game that someone can enjoy playing many, many times (there are folks who have played Britannia more than five hundred times).  Most Euros are designed to attract for a few plays only, after which the players will move on to something else ("the cult of the new")

3) I like games.  Euros tend to be interactive solvable puzzles.

**
I like people-watching in board and card games more than I like playing (in part because I gave up playing games against other people when I was 25).  If a game is good for people-watching, it probably has lots of interaction; Dominion, for example, is nothing for people-watching, there's nothing to see/hear really.

**
I was looking for a word to compare games where software is needed, to those where it isn't.  The former tend to be sports, latter heavily involve the mind.  Someone (my wife?) came up with software versus "brainware".

Some games require software.  Others (e.g. most tabletop) don't use software, just "brainware".

**
Some recent tweets

My talk "On the horns of a dilemma" at East Coast Game Conference (Raleigh NC): 3:15pm–4:15pm Thursday April 24, 302C http://t.co/gTPJFHMBpd

Two Kickstarter game groups: one susceptible to/attracted by "smoke and mirrors", the other doing pre-order "P500" via another medium?

Links to free versions of books that inspired Gary Gygax (Appendix N of D&D): http://t.co/ZGhaTjENmg

My video What are you trying to do when you design a level or adventure?: http://youtu.be/NibOtLO9Mwo?a?

Why do people pay $4 for a coffee, not for a mobile game? Maybe because no cost to making more of the game, there is to making more coffee

If I were a professional story-maker I'd never call myself "narrative consultant."  Narratives - accounts of what happens - are often not good stories, not interesting unless you're the person it happened to.

If you're interested in RPG news, reviews, analysis, look at this near-daily column: http://www.examiner.com/rpg-in-national/michael-tresca?

Commodity Game Design - Avoiding Clones. http://gamasutra.com/blogs/AndrewPellerano/20140331/214298/Commodity_Game_Design__Avoiding_Clones.php?

My videa about PrezCon2014: http://youtu.be/NkrhVZTJAZI?a?

My video from "Learning Game Design" course: What is the player going to do?: http://youtu.be/ugH0Edy21T0?a?

Gamasutra blog by Zachary Strebeck, Three contracts every game developer needs: http://t.co/QBxzjc0ZGG

**
I have two new courses at https://courses.pulsiphergames.com
How to design levels/adventures for video and tabletop games ($19)
How to write clear rules ($15)
These are priced as though they were books, despite being audiovisual courses.  There are no discounts.  The same courses, when on Udemy, cost about 50% more.

Saturday, April 05, 2014

A&A 1941 $18.99 today (April 5) only

Axis & Allies 1941, which appears to have 160 plastic miniatures (five colors), is on sale April 5 for international tabletop day at Amazon for $18.99 (and if your order is over $35 you get free shipping).  You might consider this if you need a bunch of WWII plastic pieces for a protoype.

http://www.amazon.com/Axis-Allies-1941-Board-Game/dp/B007TB3R80/ref=br_lf_m_8887135011_1_19_ttl?ie=UTF8&m=ATVPDKIKX0DER&s=toys-and-games&pf_rd_p=1772969562&pf_rd_s=center-2&pf_rd_t=101&pf_rd_i=8887135011&pf_rd_m=ATVPDKIKX0DER&pf_rd_r=0AY40JB8FCGCVS2AKEEH

Many, many other games are being sold up to 45% off, as well.  Acquire for $18.99 e.g.

Sunday, March 23, 2014

Generic plastic/wood game pieces you can buy for prototypes (or for full production?)

Generic plastic/wood game pieces you can 

buy for prototypes

(or for full production?)


Many game designers need 3D pieces to use in their prototypes, and some game publishers may want to make games with 3D pieces yet are not prepared to create custom components.  I don’t know whether EAI makes their own stuff, but one way or another, if the pieces can be bought by individuals at these prices, they must be available for much less at very large order prices.

I get most pieces from EAIEducation.com.  They are a school supplies seller.  I’m looking at their latest “Spring 2014 Math” catalog (they also sell online, of course).  I use quotation marks around the names EAI uses.  I have listed their largest quantities, many are available at smaller quantities though higher cost per item.

“Stacking counters”. p. 15.   These are excellent, and I’ve already seen them being used in published games.  2,500 in a tub (10 colors, .75") $49.95.   So 2 cents each.

Plastic 1 “centimeter cubes”. p.22.  (10 colors).  5,000 for $79.95.  So 1.6 cents each.  (Cost more in a tub.)
They also have “interlocking centimeter cubes”, same page, more expensive.

You can also order single-color sets of blue, yellow, orange plastic cubes on p. 34, 1,000 for $19.79.

1 inch square “plastic color tiles” p. 21 (large enough to write numbers on) in four colors. 
4mm thick, 2,000 in a tub $64.50.  I use these a lot for prototypes instead of cardboard counters.
2mm thin slightly translucent, 400 for $10.95
They also list transparent, 48 for $3.95.  I haven’t tried these.
You can also get 4mm foam versions(“quietshape color tiles”), haven’t tried them.

“Two-color counters” p. 77 (red on one side, yellow on the other), 3/4" 1,000 in a jar for $22.25.  I use them for sites that must be explored, writing on the yellow side, sitting red side up.
You can also get 1" magnetic ones, and transparent ones (single color, I think).

“Double-sided black and red counters”, 1", p. 121, 200 for $5.95.

“Black and red counters”, 3/4", not double-sided, two separate colors.  480 for $8.95.

‘Plastic, 1", four color transparent counters’ packed in a sturdy plastic container.  5,000 for $73.95 (missed it in the catalog, http://www.eaieducation.com/Product/531176/Transparent_Counters_-_Set_of_5000_in_Tub.aspx online)

“Game pawns”.  P. 15.  300 in a jar for $8.95 (colors may vary, 5 shown).  These are classic fat-bottom skinny-top game pawns.  So 3 cents each.

“Blank playing cards”, decks of 54, $1.55 each of 36 decks for $39.95.  P. 77 2.25" by 3.5"
Also transparent and colossal and normal cards available.

‘1" wood color cubes’510 in a tub, $45.95 p. 3

“Hardwood cubes in six colors” 2 cm, (blue, green, orange, white, yellow and red). Packed in a tub.  510 for $43.95 or 102 for $8.95.  Also missed in the catalog, http://www.eaieducation.com/Product/530639/Wooden_Cubes_2cm_Color_-_Set_of_102.aspx

Another way to provide 3D pieces is to use wooden blocks with stickers.  You can buy blocks individually from Columbia Games.  A more economical source is GMT, who often sell big bags of blocks very reasonably priced at conventions (such as PrezCon, WBC).  The blocks above can be used the same way typical wargame blocks are used, though they’re twice as thick as wargame blocks.

They have spinners, sand timers, plastic coins, dice (polyhedra), blank dice (http://www.eaieducation.com/search.aspx?Keyword=blank+dice&category=-1) and so forth as well.

EAI doesn’t sell chips.  I get small ones from Rolco games, who make their plastic stuff themselves but sell direct to the public. http://www.rolcogames.com/category/pokerbingo+chips/7
Rolco even sells blank game boards and boxes: http://www.rolcogames.com/category/board+game+accessories/12.
You can also get bulk rocket ships, tanks, and lots of other small pieces.

You get bulk pricing on orders of 5,000 or more.

***
courses.pulsiphergames.com
YouTube Game Design channel: http://www.youtube.com/channel/UCHWWViIuBsOrSm2HXeBj2kA 
@lewpuls

Wednesday, March 19, 2014

Categorizing Board and Card Games by Use?

Categorizing Board and Card Games by Use?


Those who have read this blog for a long time know that I am a categorizer.  I try to organize things into categories in order to better to understand them and their relationships to each other. Recently it’s occurred to me that within the context of a game club meeting or even a smaller game session, different games have different uses, they fit into the session in different ways. This often is reflected in different price points, different lengths, different effort requirements, and so forth.

So the following are categories organized by how games are actually used at game meetings.

I’m sure other people must have done this at some point, although a simple search for “destination game” on BoardGameGeek yielded very little. Perhaps readers will let me know about other efforts to categorize games by usage.



First we have destination games. These are games that people look to play, or occasionally organize to play beforehand, when they go to a game session. These are usually games that take quite a while to play and may take some effort as well. Many of them are 2 to 3 hour games, while the ones that are just an hour are often serial destination games, that is, you expect to play two or three times consecutively, possibly the same game, or other serial destination games, in one game session. You expect destination games to be more expensive than many other games because they’re offering you more hours of use, and they’re often “more involved” if not “more complicated”.  If the term “weight” is used to indicate the effort involves, destination games are often heavier games (though the special occasion games, below, are usually the heaviest).  Serial destination games may be lighter.

Most destination games are for more than two players. Two player wargames are often serial destination games, two people get together and play the game two or more times, switching sides.

For serious chess players chess is a destination game although for some it will be a serial destination game.

Special occasion games take so long (or have such unusual requirements) that people schedule meetings just to play the game, enabling them to recruit players specifically for it. Sessions are organized days or even weeks beforehand, especially if a large number of players is required, for example Diplomacy with seven, History of the World with five or six, or Civilization (the boardgame) which requires a large number of players to work well.  Many RPGs are of this category, as they require both quite a few players and a referee as well as a lot of time.  For many people Britannia is a special occasion game (especially if players aren’t experienced, then it can be 7 hours instead of 3.5-5), though if your game club runs many hours it might fall into the destination category. A two player “monster” wargame is also a special occasion game - sometimes several occasions before you can actually finish it.  Miniatures wargames are often special occasion, though the smaller ones can be destination games.

At the other end of the spectrum we have filler games. These games almost always allow for a widely varying number of players because the purpose of the filler game is to let people play something before everyone has shown up for the destination game, or to play something after the destination game is finished. You never know in those circumstances exactly how many people you’re going to have, or how much time you’re going to have. Consequently filler games need to be relatively short, frequently under an hour and sometimes as little as five to 10 minutes. Some of the shorter serial destination games may be usable as fillers in the right circumstances.

I reserve the term “flexible filler” for games that can be played for 30 to 45 minutes but can also be played for as little as 5 to 10 minutes. These are often point games so that you can set a particular point target, or simply play in the amount of time available and then see who has more points.

Filler games are usually lighter games, ones without a lot of strategy to them.  People often use the term “beer and pretzel” games in this context, but I prefer to avoid that term.  It’s not unusual for a filler game, especially a longer one that can also serve as a serial destination game, to be a “screwage” game. (See “Competition, direct conflict, wargames, and screwage games,”   http://pulsiphergamedesign.blogspot.com/2013/10/competition-direct-conflict-wargames.html)

A subcategory of filler game is a convenience game. These are games that can be played in tight spaces (such as a vendor booth at a convention or in a car), or in unusual circumstances where it’s inconvenient to play most other games. Much of this is about the physical conformation of the game of course.

You’d expect fillers to cost significantly less than destination games, even though, in the end, you may play a filler for more hours during it’s “lifetime” than you will many destination games.  Given the “Cult of the New” that is so strong in the hobby, people tend to focus their attention on destination games but then only play them a few times before moving on to something else.  Popular fillers can actually last much longer.


Where do the old “micro” games fit? The micro category seems to have been virtually wiped out by CCGs like Magic: the Gathering and Yu-Gi-Oh. Keep in mind that most micro games, and most CCGs, are two player games. Each individual play of a CCG can be quite short, but players tend to play several games consecutively, often for several hours.  So these might best be characterized as serial destination games - lots of people come to a game meeting specifically to play their favorite CCG over and over again.

Gateway games have come to be popular to introduce people to hobby game playing. Settlers of Catan is the most well-known, but Ticket to Ride also fits this category. Originally these games were serial destination games or long fillers (and again can be treated as both). Gateway games tend to be simpler than destination or special occasion game.  They also tend to be shorter because “the unwashed” often aren’t accustomed to sitting and doing something for long periods.


Sometimes what ought naturally to be a filler game becomes a destination game. For example, Munchkin ought to be a fairly short game if designed properly, but when played by serious gamers it becomes rampant leader bashing as everyone goes up to level 9 before somebody finally is allowed to reach level 10, and the game takes a couple hours.

In general, party games are filler games, the party is what's important, not the game.  Few people take party games seriously.


I’m not strongly in touch with game prices, though obviously they’re going up.  (I recall FFG’s Britannia in 2006 was $40, in 2008 $50.)  Destination games cost much more than fillers, and special occasional games probably cost more yet.  Serial destination games may be the cost of destinations or of fillers, or anywhere in between.  Gateway games, because of their large print runs, should be close to filler game price even though they often amount to serial destinations. 



So where does this get us as game designers?  It will probably help you to be aware of what kind of game you’re designing when you’re still in the conception stage.  It certainly won’t do to market your game as a destination game when it’s really a filler, or vice versa.  Also, a destination game may justify more expensive components than a filler, because the former is likely to sell for more by virtue of being a destination game.

Consideration of game usage may also affect how many players you design a game for.  Though nowadays, given the social nature of tabletop gaming, you’re limiting yourself anytime you design a game that cannot be played by at least four.


@lewpuls
Courses.PulsipherGames.Com

Saturday, March 15, 2014

Avoiding Player Elimination in Multi-player Tabletop Games (video)

I've just added this to my Learning Game Design course, and in my video blog experiment here is the link  to the video.  It applies mostly to tabletop games where there are more than two sides, each with a human (rather than computer) in charge.


Wednesday, March 12, 2014

The Future of (Tabletop) Wargames? Getting out of the wargame ghetto . . .

    “I didn't realize how out of my element I was until I had to listen to guys talking about their retirement and/or how they were retiring soon. Made me wonder if the hobby as I know it is going to slowly evaporate over the next decade or so.... (But no wonder I couldn't find players for wargames all those years...!)?”
 - Jeffro Johnson (who is approaching 40 himself, as I recall) about his experience at PrezCon ’14

(Lest anyone have any doubts, I am one of those Baby Boomers who grew up with Avalon Hill games, and am more or less retired. )

I was asked more than once during my PrezCon talk (by a publisher of hex-and-counter wargames, no less) where the future of wargames lies.  The Charles S. Roberts/Avalon Hill originated hex-and-counter game style is a Baby Boomer hobby, and Baby Boomers are a shrinking group.  Tabletop wargames now sell 1,000-2,000 copies, typically, whereas in Avalon Hill’s heyday they could sell over 100,000. Even in 2004-5 when I came back into the hobby it was easy to see that there was a wargames ghetto (as I call it). People in the ghetto were okay with that but it did not and does not appeal much to people outside.  And it gets smaller over time.

So what is the future of hobby wargaming?  Practically speaking, the traditional market is disappearing.  What can replace it?

Video Games?

Tabletop wargames not only have to survive vis-à-vis other tabletop games but vis-à-vis video games. We always have to keep in mind the greater popularity of video games when we talk about any kind of tabletop game. Video games are easy to play, with the tremendous advantage that you don’t need to read the any rules, and video games are also becoming quite cheap with vast numbers of free to play and $.99 games available. Most video games that appear to be about war are actually closer to sporting events, as top RTS (Real-Time Strategy) game players must execute 200 actions-per-minute to succeed. But the capability to make two-player games primarily requiring thinking to succeed is there, and there are turn-based video games involving war (most notably, Civilization).

Yet the future isn’t video games, at least not the kind of simulation-like video wargames that have been produced so far by companies like Matrix Games.  These sell hardly better than tabletop wargames (3,000 is a number I’ve seen, minuscule for video games requiring that much effort to produce).  I don’t think video games are a threat or a salvation for tabletop wargames.

Multiplayer (Multi-sided) Games and “Losers”

The future of all kinds of tabletop games is in multiplayer (more than two player) games, because a great attraction of tabletop games that video games cannot reproduce is the social interaction.  Whether that interaction occurs within the game rules or not, it comes from people being in one place seeing, hearing, and sometimes smelling and emotionally (and sometimes physically) feeling other people.

Another advantage of multiplayer games is that they don’t put “the loser” on the spot, they don’t involve the ego nearly as much.  In a two player wargame, there’s a Loser with a capital L.   In a game for five, there are four losers, but an average player is only going to win 20% of the time anyway (assuming there are no draws), so you can lose and not feel “failure” - you’re in the same boat as almost everyone else, and “I’ll get ‘em next time”.  You can also feel that you were the best player but people ganged up on you.  At some point, there’s nothing you can do about that. (In the case where both/all the players are against the game, that’s OK - the humans are all in it together, essentially a single player game, and all lose or win together, no stigma involved.)

These games should not have player elimination, something that can unnecessarily bring out those feelings of failure.  Practically speaking, too, a game without player elimination is likely to be shorter than one with elimination.

Video games achieve this through single player games/campaigns that are often puzzles that you will sooner or later solve if you’re persistent. With save games and respawning there is no way to Lose.

SPI’s surveys indicated that 50% of play of their games was solo.  People who are inclined to solo play often like two-player, detailed wargames.  I think the solo player is much more likely to play video games these days.  Solo play is a mostly-dead-end for tabletop games.

So games that allow for the social aspects of face to face gaming, and don’t put the loser on the spot, are where wargaming has a chance to succeed.

“Peaceful” Semi-wargames

Games that allow for the possibility or even likelihood of war but recognize that peace is a better way to succeed are more broadly appealing than games that are out-and-out, cut-throat war. These games can be less directly confrontational. For example, a game about the Italian city states in the era of the Crusades can allow players to prosper if they can peacefully take advantage of the trade from the Far East and develop influence in foreign places, but can provide the ability to go to war. If a player can stay out of a debilitating war, or win a war very quickly, he or she will have a good chance to win the game. (I speak of this as though hypothetically, but my prototype Seas of Gold does just this.)

Sometimes games of this kind are given funny names that imply a cross between Eurostyle and wargame. But there’s a big difference between wargame and Eurostyle that I think needs to be preserved in the semi-wargames, as they might be called, that many wargames allow for great differences in playing style, whereas many Euro games assume a formalistic style where certain paths to success are well-known and blocking those paths is a common activity, where there are “generally accepted moves” that you’re expected to make, that you may even be criticized if you don’t because “that’s not the way to play the game!”  (I have to interject here, those who have decided that “Euro” only means certain heavy-strategy games that they like are going to disagree with me, because I use the older, broader meaning of Euro.)

To my mind, good multiplayer wargames are like open world video games, and Eurostyle games are more like closed world or linear video games. That open style is often lost in “simulations”, but simulations that force certain outcomes as the old SPI games often did are not going to survive on the tabletop - if only because they’re boring to most people and anathema to historians, like myself, who believe that what happened in the chaos of history is often not what was most likely to happen.  (And also because that kind of simulation is almost always a two-player game.)

Grand Strategic Wargames

I think we’ll see more grand strategic wargames rather than tactical games. First, grand strategic games are more believable for more than two players than tactical games. You can easily think of entire nations as competing in a multi-sided way, whereas battles with more than two sides are almost unheard of.  Second, tactical games in the wargame tradition are littered with nuts and bolts and details that hold much less interest for people in our fast living, imprecise century than they did in the glory days of Avalon Hill and SPI. There are lots of tactical games involving fighting, but they are individual skirmish games like Heroscape and many RPGs, not “nuts and bolts” games. Another aspect of grand strategic games is that ultimate success usually depends on building up your economy, as it does in almost any war. Games that build up have proved to be more attractive to many people than games that tear down. A grand strategic wargame can be one that combines the tearing down that’s involved in taking economic value from another player along with the building up that people seem to like, a combination of negative and positive. In contrast, a battle game, one without an economy, where the objective is terrain-based or simply killing lots of the enemy, is purely negative.

Visual and Tactile Appeal

It almost goes without saying that wargames need to be more visually appealing. Wargames with traditional half-inch counters aren’t even a starter except in the wargame ghetto. If you must use cardboard counters, they need to be a lot larger.  Three-dimensional pieces provide a tactile pleasure and feedback that you cannot get from video games, but it’s hard to get that from half-inch counters.  Some larger counters feel and look (and even sound) more like tiles, and that may work - I have in mind the FFG Britannia pieces.  3-D pieces and cards provide a visual appeal that standard wargames do not.  (I was told that Command & Colors was getting no traction for GMT, before publication, until they introduced the use of blocks as 3D pieces (not for “fog of war”).  Then it took off, and has proved to be very popular.)

Games with multiple numbers on each piece don’t have much appeal.  Players don’t mind having lots of information on cards, but not on pieces.  (NO lookup tables, either.)  3D makes it harder to put numbers on pieces, as well.

Stacks of counters are also a bad idea, though less so if only the owning player is allowed to look in the stack.  A good decision I made decades ago in Dragon Rage (which is a hex-and-counter wargame) was to prohibit stacking.  With the larger pieces in the 2011 edition, I’ve avoided the old problems of stacks of half inch counters.

Perhaps a reason for the popularity of “block games” beyond the fog of war is that they avoid counter stacks, and often have less information on them than do traditional counters.

Fewer Significant Decisions

The fundamental experiences people want in games have changed, too. People are much more interested in variety than in gameplay depth. They like lots of choices but they don’t like many difficult/significant choices.  They tend to rely more on intuition than logic, a reliance that’s often encouraged in the schools and society (“use the Force, Luke”, don’t depend on the computer to aim that torpedo). So a game with lots of choices but few decisions that make a significant difference tends to be preferred to the older kind of game, where there is not only lots of choices but lots of decisions, and decisions within decisions. (I’m sorry if that’s not entirely clear but my spiel about gameplay depth and other kinds of depth in games is something like 10,000 words.  This will have to do.)

This trend is already enormously clear in video games.  Players want to be rewarded for participation, they don’t want to have to earn their rewards by making good decisions.

Hobby wargaming often involves studying the games. People don’t study games much anymore, especially casual gamers. Between cheap or free video games and the proliferation of many hundreds of new tabletop games each year, people are accustomed to playing a game only a few times before they move on to the next one in a kind of “Cult of the New”.  I know people who have played Britannia more than 500 times, but nowadays you’re going to find few newly published games that anyone will ever play 500 times, especially not one as long as Britannia.

I think wargames are still going to be a haven for people who want old-fashioned gameplay depth as opposed to simple variety, but if you want to reach a larger market you need to recognize that the number of significant decisions has to be reduced.  I’m put in mind of a young lady who used to attend our university game club. At age 18 she was exceptionally intelligent and focused, and when she played games she really put her brain to work (more than most), but because she was playing games to relax she did not want to play anything like a standard wargame where you have bunches of pieces to move in each of your turns. That was far too many decisions to make.  She liked tactical video games, where you have just a few characters to control. That’s the kind of person who can be attracted to strategic multiplayer games that involve war, but only if they are designed to be broadly appealing. 

Be sure your wargame doesn’t have a player moving dozens of units every turn!

Personal Stories

Gamers are also much more interested in personal stories and avatars in games than they were 40 years ago.  RPGs are an example, and many kinds of video games, both just coming into existence back then.  Wargames by their nature tend to be about nations and large units, though there are many games with individuals as the primary units (squad level games). The word “story” is in “history”, but the history of warfare tends to be impersonal. The kinds of personal stories people like aren’t about the Military, by and large.  I’m not sure how this is going to pan out, as the grand strategic games I recommend are not well-suited for the “you are there” mentality (think History of the World or Diplomacy).

People Games, not Math Games

What wargames need to focus on is the other people playing the game, rather than on the details of the game system. Britannia has some detail in it but it’s essentially a simple game to play, and the really good players are playing the other players, not the game system. You have to master the game system but that’s not the ultimate mastery, as opposed to chess and so many two-player wargames where mastery of the system is all that matters. (Oddly enough, mastery of real generalship is much about psychology, but wargames rarely reflect real warfare.)  That’s the kind of game we need, though Britannia is not the best example because it’s much too long for most players. One of the new versions of Britannia I’ve created can be played in 90-120 minutes and has been played in 84, even though the players were not hurrying.  Yet it is still clearly Britannia.

Games where “Yomi” is needed, discerning the intentions of other players, reading their minds, are popular for many reasons (think poker, Werewolf, Resistance).  Wargames need to make Yomi more prominent, and the details of mechanical play less prominent.  Multiplayer, of course, immediately puts Yomi to the forefront in highly interactive games.

On the other hand, you can’t remove a fairly high degree of interaction from a wargame and still have a wargame, instead you have something that begins to approach a puzzle or multiplayer solitaire. I don’t see this as a route wargames can take because then you have a major disadvantage of a wargame - the tearing down - without the compensating advantages of high interactivity.

Where there’s a place for two player wargames is on tablets and PCs, so that those who like this kind of ultimately confrontational math-like game can find opponents, and can play in short sessions even if the game itself is quite long in aggregate.  For examples, see http://www.shenandoah-studio.com.

Shorter and Simpler

Finally, all games are noticeably getting simpler and shorter (especially video games).  Wargames must as well. That’s quite a challenge for multiplayer games simply because the more players you have, usually the longer the game. I have pursued a quest for a “one hour (multiplayer) wargame” for many years, and while I usually end up with 2+ hours I do have one game that has been played in an hour by three players.  But that will remain exceptional, except in wargames that use cards rather than a board.

Card-based wargames are another possible route out of the “ghetto”, but when you use cards you usually (though not always) abandon maneuver, which is one of the salient aspects of war.

Simulations?

I’ve briefly alluded to where “simulations” are going. The kind of simulation that values the model before the game, that tries to force a particular outcome to match history, is rapidly going down the tubes. The kind of model that Phil Sabin calls a simulation - though I wouldn’t - that helps one understand history will still be around. If you’ve read Sabin’s book Lost Battles you’ll know that his simulation to help understand what really happened to during ancient battles is pretty simple, not at all the kind of highly detailed simulation we used to get from SPI.

On the other hand, wargames can never approach the abstraction of the typical Eurostyle game. Wargames have to be models of some reality, and anything that happens in the wargame ought to correspond to something that happens in reality. That’s rarely the case in Eurostyle games, which are frequently abstractions with some kind of atmosphere tacked on (yes there are exceptions). Eurostyle games are designed to have particular paths or actions that can be easily blocked by the opposition (without any actual destruction), and that’s not even close to the nature of warfare.

Conclusion

Will the “grognards” of the ghetto like these wargames? Maybe not, but it doesn’t matter, because they’re gradually going out of the market for games and publishers have to look at younger markets.

Having said all this, I’ve described one of the kinds of games I like to design, so maybe I’m prejudiced. Or maybe I saw the need years ago and have been working on it ever since.

When I started this I intended to write something fairly brief, but many of the trends in games in general have come into the question of the future of wargames.  I’ll stop here before it grows any further! 

***

I will be a speaker at the East Coast Game Conference, April 23-24 in Raleigh, NC.   Exact time or day as yet unknown.  The topic will be “On the Horns of a Dilemma” (Game Design).

I now host (through Fedora) my online audiovisual courses at https://courses.pulsiphergames.com . They are still on Udemy.com at higher prices.  They include “Learning Game Design”, “Brief Introduction to Game Design”, and “Get a Job in the Video Game Industry”.  I will very soon be opening a course “How to Design Levels/Adventures for Video and Tabletop Games”.  Some time after that I’ll open “How to Write Clear Rules (and Game Design Documents)”.

YouTube Game Design channel: http://www.youtube.com/channel/UCHWWViIuBsOrSm2HXeBj2kA
@lewpuls

Monday, March 10, 2014

PrezCon 2014



PrezCon 2014

The first game convention I attended after my long hiatus from the hobby was PrezCon 2004. I used to go alternate years but I’ve been going consistently at the end of February for several years now.


[Justin wanted me to photograph the schedule posted on the wall. Virtually every line there is a tournament]


PrezCon is a relatively small friendly board and card game convention in Charlottesville Virginia at a Doubletree Hotel. There are no RPGs, no miniatures to speak of, no CCGs, no video games. Most of the players are gray-haired Baby Boomers, although there is a smattering of younger players as well. It uses the same format as the World Boardgaming Championships, you pay a single fee and play it in as many tournaments as you can squeeze in. There are not quite as many tournaments as at WBC, and they are generally smaller because the attendance is about 3/8 of WBC attendance (for example 15 in the Britannia tournament in a good year compared to 40 at WBC). But there’s lots of competition. There’s also an auction, an auction store (where I bought a 2008 copy of Risk for four dollars for the peculiar arrow pieces), and a large open gaming area. Where WBC offers half a dozen or more talks, there is only one at PrezCon (that I give, and that gets about half a dozen in attendance). 


[Some of the plaques awarded for tournament success]


[Part of the main tournament room. The vendors are also in this room, to the left. There are also several subsidiary tournament rooms, and a large room (ballroom) for open gaming.]

There are game vendors as well, some of them publishers such as Worthington Publications, GMT, and Mayfair Games. Two of those three are wargame publishers and that’s reflected in the tournaments and open play, with many more wargames and you would see at GenCon. The vendors are set up from Friday through Sunday though they are packing up by midday Sunday.

[Vendor area]


Justin Thompson and company have PrezCon running like a well oiled machine in its 20th year.  When Justin was temporarily laid low by illness his partner Grant Dalgliesh took care of things.

Owing to work reasons my friend and I arrived Thursday night instead of Wednesday night this year, and I miss the extra day to talk with people. (I don’t play games at conventions and never have: I can play games at home. And as some of you know I’m not that big into playing games other than D&D, which we definitely don’t see at PrezCon.) We usually stay until Sunday mid-afternoon because he usually plays in the Roborally finals (which he won for the fourth time). Just as at WBC and Origins, by that time almost everyone has left and it’s quite dead. I think GenCon stays alive somewhat longer though I have had to leave before noon because of a very long trip home. It’s a great contrast to the UK Game Expo a few years ago, where I had a talk scheduled at 1 PM on Sunday and the audience filled the large room, as well as for the talk after that. I suppose because Great Britain is relatively small and train travel is common, people don’t feel the need to leave as early as they do at American game conventions.

At one point I recruited a friend who had played the game the year before to playtest one of my prototypes with a publisher. He asked me privately whether he should go easy on the other player. I wouldn’t tell anyone to do that as it is slightly disrespectful to the other player, and in any case the publisher needed to see what the game could really do, so I told him know do the best you can. And he won the game fairly easily, showing that there’s something worth learning in the game (as opposed to some transparent games where experience doesn’t seem to make much difference).

[Britannia tournament]

[Playing my prototype Doomstar]

As I have observed at other conventions, especially those that are strictly board and card games, there are striking cultural differences if you take the time to notice. Non-white gamers are very rare at PrezCon, just as they are at WBC. They are much more noticeable at conventions that include RPGs, CCGs, art and written fiction, and so forth.

One friend saw a lot more “friction” in the game playing this year, though I noticed a lot less than last year. Friction as in rule arguments and even one occasion of possible cheating. Yet when a friend of mine played his first game of Britannia in the tournament he found that the players gave him genuinely good advice rather than trying to con him with poor advice, and he won the game. The wargamers are not quite like Eurostyle players who often seem to be collectively solving a puzzle and discussing what the best move would be, but they do want new players to enjoy the games.  I have a friend who doesn’t go to PrezCon because he doesn’t want to tangle with the “sharks”, the really good players, nonetheless I think it’s a pretty friendly and mostly laid-back group considering the level of competition.



My talk this year was about strategic wargame design. There were lots of comments and questions that my recorder couldn’t pick up so I need to edit it before I post it on my website for anyone who wants to listen. The PowerPoint slides that I made for it are already posted at http://pulsiphergames.com/teaching1.htm.  Don’t leave out that 1.

***
I now host (through Fedora) my online audiovisual courses at https://courses.pulsiphergames.com . They are still on Udemy.com at higher prices.  They include “Learning Game Design”, “Brief Introduction to Game Design”, and “Get a Job in the Video Game Industry”.  I will very soon be opening a course “How to Design Levels/Adventures for Video and Tabletop Games”.  Some time after that I’ll open “How to Write Clear Rules (and Game Design Documents)”.

YouTube Game Design channel: http://www.youtube.com/channel/UCHWWViIuBsOrSm2HXeBj2kA
@lewpuls



Monday, February 24, 2014

Triptych II

Conventions and classes
I'll be at PrezCon in Charlottesville this weekend (beginning Thursday night). I'll be giving a talk about strategic wargame design (Strategic Wargame Design Sat  20:00 (8PM)    J. Madison room).  If you care to talk with me (which is why I'll be there), I am about 6'6", unfortunately over 300 pounds, glasses, mustache, balding on top (or wearing a cap), and over 60. Can't miss me.

I will soon be offering my online audiovisual classes on my own as well as through Udemy. They'll cost more through Udemy. News at pulsiphergames.com.


"Intuitive"
Quote from a comment on BGG: "Unintuitive rules are rules that don't make sense given the game's setting, goals, and components. It has nothing to do with previous gaming experience (otherwise every new game that strays from a known formula would be unintuitive)."

Get some people together who almost never play board games, and try to teach them some light (but not family) board games. What "makes sense" to gamers often does NOT make sense to the non-gamers. "Make sense" depends heavily on previous experience.

The effect of prior experience is especially obvious in user interfaces in video games. Players expect things to work a certain way because that's what they're used to. There may be a more sensible way to do it, but if you write your game in that more sensible way you've created a barrier for those used to the old way of doing it.

"Intuitive" frequently ends up meaning "what people are used to", not "what is most natural or sensible." Which is why I won't use the word in game design context.

Let's go further. We might think that photographs and maps are "intuitive", but take an aborigine who has never seen such a thing (no longer likely, but it's been done in the past) and they cannot make sense out of either. It is too far beyond their experience. They can be taught to recognize photos and even use maps, but to them there's NOTHING "intuitive" about it.

"Intuitive" as used in games is still a synonym for "easy to use" or "easy to learn", but it comes from what people are already familiar with.

Now on the other hand, there are things that may be natural to humans. For example, when moving a mouse, it's a lot easier to point at something at the edge of a screen, where you cannot overshoot it, than if it's away from the edge. In this respect, buttons on the screen edges are "intuitive", if anything is.

Twitter
I am @lewpuls on twitter. Some of these references from recent tweets may interest you:

Understanding Choice: 3dtotalgames.com/understanding-… (http://t.co/tDkm0EBxO1) It is written primarily with math-style games, often solvable games (puzzles), in mind.

Some games require software. Others (e.g. most tabletop) don't use software, just "brainware". (Term courtesy of my wife.)

Contest: each competitor does something separately, without being able to affect the other competitors through gameplay. Compare results.

“Gamification” in practice amounts to scorification of *contests*, not use of actual gameplay techniques. There is no game. . .

An articulate and fascinating look into a budding game designer's head: jeffro.wordpress.com/2014/02/19/how… (http://t.co/TgYM0AYkkK) #gamedesign (https://twitter.com/search?q=%23gamedesign)

Jakob Nielsen's advice about on-screen instructions for mobile apps should apply to mobile games too: nngroup.com/articles/mobil… (http://t.co/t9DfDqORj4) #gamedesign (https://twitter.com/search?q=%23gamedesign)

KS: "A service that lets you customize your perfect miniature using our web UI and have it 3D printed just for you!" kickstarter.com/projects/herof… (https://t.co/E9YEejaob5)

Avoiding player elimination in multi-sided games: youtu.be/Eu5C941Jjs8?a (http://t.co/gT0pvMe4YS) via @YouTube (https://twitter.com/YouTube/)

"Tech wars and talent shortages." How recruiting and working conditions have changed in the video game industry. gamesindustry.biz/articles/2014-… (http://t.co/xPTer4OoPM)

"Player count and scalability" gamesprecipice.com/player-count-s… (http://t.co/9jvF0j8YAb)

Learning from backer cancellations in Kickstarter stonemaiergames.com/kickstarter-le… (http://t.co/mZwtqOnUSN) Anyone planning to run a KS should read Jamey's lessons.

Unusual, often artsy, dice: shapeways.com/games/dice?li=… (http://t.co/w2SNRCjeUT) And on KS, kickstarter.com/projects/tinde… (https://t.co/RjLiQBmbJO) kickstarter.com/projects/15847… (https://t.co/QWbfhDtuXk) kickstarter.com/projects/33900… (https://t.co/e5BfgsmPEk)

Today is the 6th anniversary of Purple Pawn, a site for all kinds of non-electronic game news, BROAD coverage. purplepawn.com/2014/02/happy-… (http://t.co/EW8wd86pJC)

What makes my Game Design book unusual or unique: youtu.be/x20MqWdpkOM?a (http://t.co/mgIE7E4fGI) via @YouTube (https://twitter.com/YouTube/)

Sherlock Holmes: the Card Game, second edition kickstarter.com/projects/excal… (https://t.co/E9hl3gnIGF)

For those who have run their own studios this states the obvious, but not to newbies: gamasutra.com/blogs/RobinHum… (http://t.co/GopjrlC1pf) #gamedesign (https://twitter.com/search?q=%23gamedesign)

Diatribe against F2P games (with a couple of very interesting comparative videos by Nerd3 - beware, strong language): baekdal.com/opinion/how-in… (http://t.co/gjE0iQXUiQ)

Monday, February 17, 2014

Three kinds of games and game fans: Math, People, Story

Categorizing aspects of game design in groups of two or three frequently promotes critical thinking. Here's one attempt (via a short video) to categorize game players by the nature of the games they prefer.

http://youtu.be/8680nw61VWM

Thursday, February 13, 2014

The Artisan, the Engineer, and the Mimic: Three kinds of game designers

I'm experimenting with use of video, from my youtube channel "Game Design". This was originally made for my online audiovisual course "Learning Game Design".  Blogger's YouTube search is defective, so I'll have to post the actual link:

 https://www.youtube.com/watch?v=qqBt1b2pPt8

Saturday, January 18, 2014

January 2014 Miscellany


Thoughts about some game-related topics that are not long enough for separate blog posts.

**
In case you haven't seen a notice about this yet:

An anonymous survey about preferred topics for game- (usually game design-) related online classes

After writing a book about game design ("Game Design", McFarland, 2012), I've been spending a lot of time creating online audiovisual classes, as that seems to be where people want to go to learn.  This survey at Surveymonkey will guide where I go next.  (It has already helped me decide which talks to give at GenCon.)  The details are in the survey.

This survey will take you about five minutes unless you think a long time about the class topics.  Use this link:
https://www.surveymonkey.com/s/3JWF8XX

**
Tom Vasel interviewed me for episode #27 of Boardgame University. Download the MP3 at http://boardgameuniversity.libsyn.com/ I had no idea what he was going to ask me, so my answers are entirely off-the-cuff.

Corey Young @C_M_Young says on twitter, "BEST episode yet!"
Jeff Patino @osohombre says "and it was one of the most engaging BGUs!"
So I must have done something right.

**
Here's a little exercise for novice game designers:

Go to metacritic.com and pick a few movies, some with a good overall score, some with poor scores.  Rather than read the few "up front" review excerpts, read all of them for these games.  Notice how, almost always, there are professional reviewers who hate a movie with a good score, or those who like a movie with a bad score.  Only the most extreme movies get no really extreme score opposite the majority.

This is what it's like when you design a game.  You might think it's "the best game ever", but that doesn't matter; the majority of game players will NOT like your game, will NOT want to play it, and some will think it's an awful game.  That's the nature of creative effort.

What you need, of course, is for most people *in your target market* to like your game.  Even then, some won't, but if most do, you're in good shape . . .

Also remember that people often don't buy games because the games are good for them to play, but for other reasons.

**
Here's a strong indication that, despite the focus of many nuts-and-bolts wargamers on data - S&T magazine style - in the end it's about the game.  That indication is, we have lots of games about battles that we have NO CLUE about, such as Tours (Charles Martel and the Moors) and Catalaunian Fields ("Romans" against Attila).  And there's so many more we have next to no information about, such as Hastings.  But people still buy and play the games.

**
From http://www.jim-butcher.com/jim, website of the author of the Dresden Files (which is very cinematic, quite unbelievable, and very entertaining).

"Jim goes by the moniker Longshot in a number of online locales. He came by this name in the early 1990's when he decided he would become a published author. Usually only 3 in 1000 who make such an attempt actually manage to become published; of those, only 1 in 10 make enough money to call it a living."

Probably those numbers are from pre-electronic publishing POD days.  When you had to sell to an actual publisher.  I think similar numbers may apply for game designers these days, which is why self-publishing is so common.

I don't know where Butcher got his numbers from, unfortunately.

**
Robert Heinlein’s Rules for Writers (which apply quite well to game designers)

First, you must write!
Second, you must submit what you write.
Third, you must never rewrite except to editorial prescription.
Fourth, you must continue doing this until you are successful.

**
Online book prices - mine, anyway - seem to change a lot over time, going both down and up.   (Amazon etc.)

**
One of the fears the author of a non-fiction book may have is that it will become dated, or worse, that he'll find himself disagreeing with his own work.  A foolish consistency is the hobgoblin of little minds, of course, but you don't want to feel that TOO much has changed.

At any rate, nearly two and a half years after I finished writing it, I find that my Game Design book has aged just fine.  I've thought of a lot more since then, but I don't disagree with what I wrote, when I have occasion to consult it

**
I have little interest in deck-building games because they have little to no "correspondence" to reality, - they're not models of anything, essentially abstract and mostly puzzle.  At least, that's absolutely true of Dominion, though I heard an interesting comment recently, that when you build a deck in Dominion then you're done, you don't do anything with what you've built, while with some other deck-building games you build the deck, then use it for another purpose.  Perhaps out of the hundreds of deck-building games, there are some that are models, though the entire deck-building structure is, to me, obviously abstract.

**
A comment on LinkedIn about my "Brief audio-visual game design class":

"Fantastic course, Dr. Pulsipher. I'm in school for Game Dev (which, of course, does involve programming), and while my last instructor is a veteran in the field, the textbook didn't emphasize the required aptitude for Game Design. This one nails it without sugarcoating it."
By Michael Thompson

http://www.linkedin.com/groupAnswers?viewQuestionAndAnswers=&discussionID=5811473715136851969&gid=1794817&commentID=5829900167637135360&trk=view_disc&fromEmail=&ut=1bYI4i-8Fsvm41

**
As I now have a suitably cheap Android device I've been able to try the free Britannia application available on Google Play.  (I was unaware of during its development.) It's evidently a practice program that is far from finished. The computer opponent is an idiot, not surprisingly. I found it very difficult when using the Romans to invade to figure out how many Romans were in a particular area, and I also found that the Belgae don't submit. The Welsh went crazy and after their first turn the occupied only two areas. And I saw Brigantes attacking Picts and Picts attacking Hebrides 1 to 1. You also cannot choose the order of battles, the computer does that for you.

**
    My book-length audio visual course "Learning Game Design" now open.  $10 off coupon ($39 instead of $49): https://www.udemy.com/learning-game-design/?couponCode=LGD%2410off 30 day money-back guarantee.

    Audio-visual course Get a Job in the Video Game Industry, $15 (or use this coupon URL for 20% off): https://www.udemy.com/get-a-job-in-the-video-game-industry/?couponCode=VideoGameJobs20%25Off
30 day money-back guarantee.

    Brief, free audio-visual Introduction to Game Design course: https://www.udemy.com/brief-free-introduction-to-game-design/?couponCode=BriefFreeIntro  (I have had to change to an official charge of $9, but the link makes the course free again.)

    YouTube Game Design channel: http://www.youtube.com/channel/UCHWWViIuBsOrSm2HXeBj2kA

    New Sweep of History games community on google+ https://plus.google.com/communities/117807773143374104516

Friday, January 10, 2014

A survey about preferred topics for game- (usually game design-) related online classes



 A survey about preferred topics for game- (usually game design-) related online classes

 
After writing a book about game design ("Game Design", McFarland, 2012), I've been spending a lot of time creating online audiovisual classes, as that seems to be where people want to go to learn.  This survey at Surveymonkey will guide where I go next.  The details are in the survey.

This survey will take you about five minutes unless you think a long time about the class topics.  Use this link: https://www.surveymonkey.com/s/MNLLHVR

Lew Pulsipher

Thursday, January 02, 2014

Gosh, I supported ANOTHER Kickstarter!?



Another very interesting Kickstarter: "gripmats" that keep tiles, cards, and other game objects in place on tables.  Great idea.

http://www.kickstarter.com/projects/bfrgames/gripmat-get-a-grip-on-your-game?ref=discovery#project_faq_75971


(I ought to say that Mark Frazier of Designs In Creative Entertainment, LLC. (DICE), publisher of 18xx games, pointed me to this one.  http://www.designsice.com/)